The Tempest
The tempest that begins the play, and which puts all of Prospero’s enemies at his disposal, symbolizes the suffering Prospero endured, and which he wants to inflict on others. All of those shipwrecked are put at the mercy of the sea, just as Prospero and his infant daughter were twelve years ago, when some loyal friends helped them out to sea in a ragged little boat (see I.ii.
The Game of Chess
The object of chess is to capture the king. That, at the simplest level, is the symbolic significance of Prospero revealing Ferdinand and Miranda playing chess in the final scene. Prospero has caught the king—Alonso—and reprimanded him for his treachery. In doing so, Prospero has married Alonso’s son to his own daughter without the king’s knowledge, a deft political maneuver that assures Alonso’s support because Alonso will have no interest in upsetting a dukedom to which his own son is heir. This is the final move in Prospero’s plot, which began with the tempest. He has maneuvered the different passengers of Alonso’s ship around the island with the skill of a great chess player. Caught up in their game, Miranda and Ferdinand also symbolize something ominous about Prospero’s power. They do not even notice the others staring at them for a few lines. “Sweet lord, you play me false,” Miranda says, and Ferdinand assures her that he “would not for the world” do so (V.i.
Prospero’s Books
Like the tempest, Prospero’s books are a symbol of his power. “Remember / First to possess his books,” Caliban says to Stephano and Trinculo, “for without them / He’s but a sot” (III.ii.
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